Busy Becoming Educated: We'll Be Right Back

Yes loyal fans - all 6 of you - I realize I'm about 3 days behind, seeing as how Friday was the most recent entry on the 365 Days of Metal, but I had quite a busy weekend, you know graduating from University and stuff, among other things.

Yes, six see-saw like years later I finally got to pick up my very expensive piece of paper that is apparently proof that I'm educated - among a procession of people in funny hats and ridiculous robes.

So if this week permits, I may try to catch up on those lost days, or I may just consider them a write-off and continue as if nothing ever happened.

Either way, the good news for you is 365 Days of Metal is here to stay. I'm enjoying discovering new junk, and introducing cool shit to people way too much to stop now, at just over two months in. So bare with me while I get my collective ducks in a row and get back on track.

365 Days of Metal should return to its regularly scheduled awesomeness starting tomorrow, Tuesday November 1st - barring any unforeseen consequences.

I'll also be rolling out some 'updates' to the rest of the Blaarg, considering the title at the top is now completely misleading advertising - cause I'm totally not a student anymore, for now anyways.

- J

365 Days of Metal: Rebecca Black Metal Friday vol. 6

Rebecca is back - she missed you. Did you miss her? Of course you did.

Day 68

Krallice - Diotima

Band Origin: New York, New York, USA

Genre: Experimental Black Metal

Label: Profound Lore

Running Time: 69 minutes

Release Date: April 26, 2011

Best Part: The title track has a progression that is deathly and thunderous, and is bridged with a guitar solo that can only be described as melodious in its insanity.

Favorite Tracks: Litany of Regrets, Diotima, Telluric Rings, and The Clearing

Grade: 5

Side Note: 100% Fucking Metal band logo.

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Diotima in 20ish words or less:

The experimental black metal crew from New York returns with their third record, taking a more concordant direction with the high-tempo rhythmic surges.

The Band:

Krallice is a four piece black metal band from New York that plays an experimental and progressive style of black metal. The band was formed in 2008 by Colin Marston, formerly of Behold... The Arctopus and Mick Barr as a collaboration, adding in drummer Lev Weinstein to complete the initial trio. Nick McMaster joined after their initial release to perform live bass, eventually becoming a full-time member. Their use of multi-tracked guitars makes for compositions that are precise and clean, while still possessing the tremolo-picked signature and speed of early black metal, such as the likes of Burzum. As such they are a new breed of black metal, while still maintaining a sound that is a throwback to classic black metal style. Their debut self-titled release received high praise upon its initial release, as did their follow-up record released the following year and has made them a standout in 'modern' black metal.

Krallice's previous releases include: Krallice (2008), and Dimensional Bleedthrough (2009) 

Jay's Take on Diotima:

In the relatively short time that Krallice has set up shop, they have done many things, but disappoint is not one of them. Their debut self-titled album and follow-up Dimensional Bleedthrough are two of the best experimental and black metal albums of the past few years, and the boys are back with Diotima, taking their new patented style to the next stage of their experimental evolution of the genre. The first thing that is noticeable on Diotima is the shift in vocal work, which leaves Barr's black metal standard vocals in contrast wth McMaster's vocals which dominate much more of the record with deathly purpose. The second thing, and that which really sets up the flow and feel of the record, is the guitar work which plays with much more accord than their previous releases, creating a real flow within each track, each riff playing in concordance with the next, creating clear movements amidst the thunderous shredding. The shift in vocal style and the ebb and flow created through the instrumentation add greatly to the experience that Diotima provides, and with it the emotional depth that the record also seeks to convey, musically and lyrically. Weinstein undoubtedly also plays the backbone of the record, and while the drumming is often the less heralded aspect of an album such as this, his work demands notable respect in the way it mends the many rhythms of the group together into the cohesive and thunderous unit it is. 

Sample of the Day:



- J

365 Days of Metal: Reaching the Next Level

Day 67

Benea Reach - Alleviat

Band Origin: Oslo, Norway

Genre: Extreme Metal / Mathcore / Atmospheric

Label: Indie Europe / Zoom

Running Time: 50 minutes

Release Date: February 4, 2008 (Scandinavia) - January 6, 2009 (US)

Best Part: Hearing Awakening makes me think of Nazi Zombies.

Favorite Tracks: Lionize, Reason, Awakening, Dominion, and Legacy

Grade: 5

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Alleviat in 20ish words or less:

This extreme metal act from Norway returns with the spirited successor to their Spellemannsprisen award nominated debut release, and get nominated - again.

The Band:

Benea Reach is a seven piece band out of Norway that fuses math metal polyrhythms, hardcore attitude, gloomy atmospheric melodies and progressive overtones into a crisp, cohesive unit. The band was formed in 2003, and with their debut release in 2006, were nominated in the metal category for a Spellemannsprisen award (the Norwegian equivalent of a Grammy) alongside Keep of Kalessin, Gorgoroth, and Enslaved. Since then the band has gained attention from across the globe, and has toured far and wide. Benea Reach is currently working on their third full-length album, tracking instruments in the studio at this very moment in time and looking for a record label to match their international ambitions.

Benea Reach's debut release was 2006's Monument Bineothan.

Jay's Take on Alleviat:

To say that Benea Reach had a lot to live up to with their sophormore release Alleviat would be an understatement. With Monument Bineothan's nomination in the Spellemannsprisen, Benea Reach quickly became known in their home country, throughout Europe and slowly the rest of the world. Alleviat is both the successor and the next extension that Benea Reach used to move up the ranks of the Metal ladder. The record is crisp and very clean, the audio quality of the recording is excellent and that plays a huge role in promotion of the bands sound. Alleviat takes the same approach as their debut, taking their hardcore attitude, dark melodies and technical playstyle, and jazzing it up to another level by including well placed interludes with soft melodies, and superbly executed vocals, both low and high, clean and screamed by frontman Illka Vitasalo. The album varies between dark, emotional melodies, heavy grooves and even atmospheric elegance. The spoken word and clean vocals of guest vocalist Maria Solheim on the track Reason also adds a special touch, that bridges the bands transitions between bright and dark, soft and heavy. And if you didn't have reason enough to listen to this, the track Awakening also happens to be on the soundtrack for the movie Død Snø (Dead Snow) - one of the best zombie slasher films of recent memory, plus they're Nazi Zombies - double win. 

Sample of the Day:

Reason is slightly more subdued, granted but it's still awesome, and I already explained why Awakening is the shit. 





- J

365 Days of Metal: Executioner of Feelings

Day 66

Carnifex - Until I Feel Nothing

Band Origin: San Diego, California, USA

Genre: Deathcore

Label: Victory Records

Running Time: 32 minutes

Release Date: October 25, 2011

Best Part: Title Track + Never Forgive Me

Favorite Tracks: Creation Defaced, Until I Feel Nothing, Never Forgive Me, We Spoke of Lies, and Dehumanize

Grade: 4

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Until I Feel Nothing in 20ish words or less:

Carnifex returns with their second album in two years and takes their tried, tested and brutal model one step further.

The Band: 

Carnifex is a five piece deathcore outfit playing out of San Diego that was formed in 2005 and has risen to relative success within the genre. The band has released four full-length records in six years and has toured constantly in support of each release, supporting acts some of the best acts in their respective genre, in death metal with their appearance on the 2010 Summer Slaughter tour. Carnifex's bread and butter revolves around speed, drop tuned meaty breakdowns and lyrical content focusing on relationships, hatred and inner struggles provided through Scott Lewis' gut wrenching gutturals and piercing screams. However, over the course of their career they have evolved their sound, slightly incorporating small new twists and elements, keeping them ahead of the pack. They also put on a great live set and have never disappointed at any of the four of five shows I've been to where they've been on the bill, living up to their band title which means Executioner.

Carnifex's other releases include: Dead in My Arms (2007), The Diseased and the Poisoned (2008), and Hell Chose Me (2010)

Jay's Take on Until I Feel Nothing:

Carnifex's previous release, Hell Chose Me, is the record I'm least familiar with of the groups past recordings, so when I think of Carnifex I imagine their work on Dead In My Arms and The Diseased and the Poisoned. The primary difference between Until I Feel Nothing and their earlier works is the sense of cohesion in the record. Obviously we're not talking about concept albums here, so the tracks don't need to flow from one to the next, but where there earlier works seemed to bounce about from track to track at times, Until I Feel Nothing has strange way of brutally flowing together from the intro track, all the way to the end. Carnifex has added in some new elements to some of their tracks, including synthesizer flourishes and a subdued, acoustic interlude at the end of the title track - which really does pave the way for the following track on the record, evidence of the flow of the album. The overall feel of the album is much crisper, cleaner, and technically sound given that the material is chuggy, high-tempo and abrasive on all fronts. Carnifex has really managed to out-do themselves on this record - definitely their best yet.

Sample of the Day:



- J

365 Days of Metal: An Orchestra of Flesh

Day 65

Septicflesh - The Great Mass

Band Origin: Athens, Greece

Genre: Symphonic Death Metal

Label: Season of Mist

Running Time: 44 minutes

Release Date: April 18, 2011

Best Part: Symphonic. Death Metal. Together. Pretty much instant victory any day of the week.

Favorite Tracks: The Vampire From Nazareth, Mad Architect, A Great Mass of Death, Five Pointed Star, Pyramid God, Apocalypse, and Oceans of Grey

Grade: 5

Note: Easy lock in my 10 for this year, also packs the potential for a top 5 finish.

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The Great Mass in 20ish words or less:

The second album since Septicflesh returned from hiatus brings back the philharmonic orchestra for one of the years more rousing performances.

The Band:

Septicflesh is a four piece death metal band out of Greece that had its origins in the melodic, gothic metal and death/doom scenes but eventually grew to become the symphonic death metal giants they are today. Septicflesh was formed in 1990 by guitarist and vocalist Sotiris Vayenas, bassist and harsh vocalist Spiros Antoniou, and Christos Antoniou who provides guitar, samples and orchestrations. Over the years the band has had a number of guest musicians and members featured on their performances. Septicflesh disbanded in 2003, eventually reuniting in 2007 and returning emphatically with their previous release Communion, which was the first record to feature the Philharmonic Orchestra of Prague helping to provide the grand symphonic power to their compositions, and Fotis Bernardo as their new drummer and percussionist, replacing original founding member Akis 'Lethe' Kapranos. The interesting thing to note is that the arrangements for the orchestras were done entirely by Antoniou who actually has a masters degree in concert music from the London College of Music.

Septic Flesh's other releases include: Mystic Places of Dawn (1994), Esoptron (1995), The Ophidian Wheel (1997), A Fallen Temple (1998), Revolution DNA (1999), Sumerian Daemons (2003), and Communion (2008)

Jay's Take on The Great Mass: 

When Septicflesh reunited in 2007 it left a lot of people questioning what their newest creation would sound like, seeing as how their last release Sumerian Daemons was one of the best records they had ever created. When they released Communion later in 2008 it was met with a resounding Fuck Yes, from fans and critics, particularly for the inclusion of the Philharmonic Orchestra of Prague, bringing their compositions to life. The Great Mass takes off from this high point, three years later and reintroduces the world to Septicflesh's signature brand of death metal infused with the orchestrations of an 80 piece professional instrumental orchestra and choir of 32 singers. The orchestrations are both powerful and subtle, the choir work subdued and emphatic, and melded with the machinations, fast tempo guitar work and double-bass ridden compositions of the band, create some of this years most  brilliant soundscapes. The Great Mass has, in my eyes, easily surpassed all of the bands previous work to date, and has released a record that is sure to grace many shortlists this year for top honors in the metalverse.

Sample of the Day:



- J

365 Days of Metal: Genre Definers, Gothenburg Part III

Part III, and the final entry of my Genre Definers look on Gothenburg, following Part I on At The Gates, and Part II last week on In Flames.

Day 64
 
Dark Tranquility - The Gallery

Artist Origin: Gothenburg, Sweden
Genre: Melodic Death Metal
Label: Osmose
Running Time: 48 minutes
Release Date: November 27, 1995 

Best Part: The Gallery's closing tracks, Mine is the Grandeur ...of Melancholy Burning is the perfect finish to the record, incorporating every element of the Gothenburg sound. 

Favorite Tracks: Mine is the Grandeur, ... of Melancholy Burning, Midway Through Infinity, Lethe, Punish My Heaven, and The Gallery 

Grade: 5

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The Gallery in not even close to 20 words or less:

One of the masterpiece records of the year, and the era - Dark Tranquility's first release with Mikael Stanne at the helm is one of melodic death metals unrivaled masterworks.

The Band:

Dark Tranquility is a six piece melodic death metal band from Sweden and alongside In Flames, holds the longest tenure among the progenitors of the Gothenburg metal scene. Dark Tranquility was founded in 1989 by vocalist and guitarist Mikael Stanne and guitarist Niclas Sundin, although under the name Septic Broiler. After the release of their first demo in 1990, the band which now also comprised bassist Martin Henriksson, drummer Anders Jivarp and future In Flames vocalist Anders Friden, would eventually change their name to Dark Tranquility, releasing their debut Skydancer in 1993. When Anders left the band after the release of Skydancer, Mikael Stanne would take on full-time duties as the bands vocalist and has done so until this day. The departure of Anders sparked some minor changes to the group that ended up creating one of the masterpiece records of the era, their sophomore release The Gallery. It would wind up influencing all of Dark Tranquility's future releases, and would remain cemented as one of the trio of records that would define the Gothenburg style, and help shape the future of melodic death metal.

Dark Tranquility's other releases include: Skydancer (1993), The Gallery (1995)The Mind's I (1997), Projector (1998), Haven (2000), Damage Done (2002), Character (2005), Fiction (2007), and We Are the Void (2010) 

Jay's Take on The Gallery:

The Gallery featured notable differences from the bands debut, Skydancer that reached beyond the change in vocalists from Anders to Mikael, but all of these small changes did not alter the base sound from which the band worked from. Using the key elements of the genre, but also the gothenburg style that they helped put on the map, The Gallery features great dual lead guitar work, acoustic melodies and interludes, the unhindered growls of Stanne and timely use of guest vocals by Eva-Marie Larsson on three tracks. The release of The Gallery helped spearhead Dark Tranquility's popularity among the melodic death metal scene and would eventually denote them as one of the cornerstone pioneering groups of the genre.

Dark Tranquility would go on to incorporate more changes to their sound with future releases, introducing new elements on the releases of Projector and Haven, having electronic pads, clean sung vocals, and the foregoing of the dual lead guitars for more clean guitar and piano. While this brought in some new and drove away some old fans, their amazing 2002 release Damage Done would heal many wounded former fans by incorporating the best of their newer elements with the vintage feeling that was prominent in The Gallery - a testament to its long-standing influence.

Sample of the Day:

The last Gothenburg double-header - and it's a good one.





- J

365 Days of Metal: We're Bringing Dirty Back

Day 63

Baptized In Blood - Baptized in Blood

Band Origin: London, Ontario, Canada

Genre: Thrash / Melodic Death Metal

Label: Roadrunner Records

Running Time: 49 minutes

Release Date: October 19, 201

Best Part: Sweet guitar solo's - see below for examples.

Favorite Tracks: Down and Out, Dirty's Back, Last Line Lady, and Sinking Ships

Grade: 3.5

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Baptized In Blood in 20ish words or less:

The debut album from the Dave Mustaine managed party-thrashers isn't revolutionary, but it's high energy keeps you entertained.

The Band:

Baptized In Blood is a five piece metal band from London, Ontario that is an amalgamation of old school thrash, and melodic death metal. Their sound is based around the speed and heaviness of their thrash base, and incorporates flying guitar solos and melody. Baptized In Blood can be described as a sort of 'party-thrash' band, with tracks that border on parody and have that party rock mentality. Baptized In Blood also happens to be managed by Dave Mustaine of Megadeth, which sure hasn't hindered their relative success.

Baptized In Blood's other releases include their self-released original self-titled EP from 2006 and their self-released LP Gutterbound from 2009.

Jay's Take on Baptized in Blood:

Baptized In Blood (the band) deliver a solid live performance, which was where I first came into contact with the band, leading me to check out the rest of their work. Their self-titled debut is not a ground breaking record when you take into account the genres the band inspires its music from. But it delivers enough variety and punch to keep it interesting and fresh. The 'party-thrash' vibe the band infuses into high energy delivery, and at times hilarious lyrics also add that little bit of flavor that makes the album stand out on its own. The guitar work is solid and features some tight riffs and melodic swings, flowing towards some sweet and tangy melodies that enhance the energetic vibe that the band proliferates. Baptized In Blood is definitely a record that you can leave jamming in the background at a party, or if you just feel like having a little party-rock mood in your metal mix for the day.

Sample of the Day: 



- J

365 Days of Metal: Learn To Swim, I'll See You Down in Arizona Bay

Day 62

Tool -  Ænima

Band Origin: Los Angeles, California, USA

Genre: Alternative Metal / Progressive

Label: Zoo Entertainment

Running Time: 77 minutes

Release Date: September 17, 1996

Best Part: Aenema - the Grammy award winning performance heavily inspired by Bill Hicks' set about the collapse of the San Andreas fault remains one of their best tracks.

Favorite Tracks: Pushit, Aenema, 46 & 2, Eulogy, Jimmy, H., and Stinkfist

Grade: 5

Side Note: Adam Jones not only is one of my favorite guitarists, he is also responsible for the amazing album artwork and imagery that Tool uses.

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Ænima in 20ish words or less:

Tool's sophomore album reinstates why they're the thinking mans band - and why their art rock meets progressive metal style is one of the best around.

The Band:

Keenan, Jones, Chancellor and Carey - anyone with any relative amount of knowledge of alternative, progressive metal and rock should instantly recognize those four names. And if they don't recognize the names, then they should at least know the name they're associated with. Formed in 1990, Tool has not only created some of the more memorable music of its genre, and for its generation, but has also grown to become one of the larger mainstream successes of the 90's and the new millennium. Coming to success during a time when metal was waning from the spotlight, alternative styles such as grunge were at the their peak and more uncommon genres were gaining popularity, Tool managed to keep the torch burning. Since the release of their debut Undertow, Tool has released four successful full-length albums and has sold over 13.5 million records. With their heavy use of visual art, mind bending lyricism and intricately laid out, progressive compositions, Tool continues to set the standard with each new release.

Tool's other releases include: Undertow (1993), Lateralus (2001), and 10,000 Days (2006)

Jay's Take on Ænima:

People can debate all they want about which Tool album is their best, arguments can be given for each of them. Undertow for example not only helped push Tool into the early spotlight but served as a reminder that metal was nowhere near dead in the mainstream. But Ænima remains their most successful record to date and really helped push the boundaries of the group before the creation of Lateralus, which strode further down the line of 'art rock'. Ænima has a long list of accomplishments that could speak for its merit, having been listed as one of the most influential records of all time, earning a grammy award for the track Ænema and having gone triple platinum with nearly 3.5 million records sold - but stats and awards are for magazines. Ænima was inspired by the deceased comedian Bill Hicks who the band credits as being on the same path as them. Samples of his work are included in the record on the track Third Eye, and references to his stand-up notably in the title track. Tool imagined the album through the ideal of the Third Eye, with the goal for the album to help open up the third eye of the listened and help them along the same path. The complex and changing time signatures fused into the ominously heavy but driven guitar work of Adam Jones and the up front bass work of Justin Chancellor (and original bassist Paul D'Amour, who left during production) help shape the feel of the record. Danny Carey has always fascinated with his drum work which is technical and complex, and truly comes to life on Tool's records. And of course the linchpin of the band itself, Mayndard James Keenan brings his signature clean vocal style and lyricism to each and every track, with hauntingly clear deliveries and mind bending prose.

Tool has been reported as working on their next album for the better part of the last year. All I can say is I can't wait, it's been over five years since the release of 10,000 Days and while the band has been individually busy with side projects, everyone really just wants some new Tool to wrap their heads around.

Sample of the Day:

- J

365 Days of Metal: Staring Into the Abyss

Day 61

Ixion - To The Void 

Band Origin: Brittany, France 

Genre: Atmospheric Doom
Label: Avantgarde Music
Running Time: 57 minutes  
Release Date: February 28, 2011

Best Part: The fluid composition work.

Favorite Tracks: Falling to Apathy, Fear of the Hidden, The Plague, Funeral Dance, and Soothing Agony

Grade: 4.0

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To The Void in 20ish words or less:

An eerily melodic debut from this essentially two-man doom metal project from France. 

The Band: 

Ixion is an atmospheric doom band created by Julien Prat in 2004, who at the time was looking to create a project based on his compositions. Joined in 2006 by Thomas Saudray, who helped work on vocals and lyrics for the project they recorded their first demo. In 2007 they began the process of writing for their first full-length, adding on Yannick Dilly in 2009 to provide clean vocals for the record. 

Jay's Take on To The Void:

Ixion incorporates the use Prat's ambient soundscapes, electronic and orchestral elements combined to a melodic doom/death base in order to create their atmospheric and gloomy sound. The lyricism provided by Saudray helps the music convey a large sense of emotional intensity, as the music teeters on the between dark and brooding melancholy, and soothing, calm, melodic tones. The shifts between Prat's dark and shallow death growls, and Dilly's clean, calming vocals is just another part of what weaves To The Void's tracks together, flowing effortlessly with the evocative melodies in Prat's compositions.

Sample of the Day:

 

- J

365 Days of Metal: Two Months of Jaytheism

Derp, 365 Days of Metal turns two months old today!

Day 60

I The Breather - These Are My Sins

Band Origin: Baltimore, Maryland, USA  
Genre: Metalcore / Christian Hardcore
Label: Sumerian Records
Running Time: 43 minutes  
Release Date: December 7, 2010 

Best Part: Djentdown? Djentdown.

Favorite Tracks: Common Good, Forgiven, High Rise, Doomsday, and Conquer 

Grade: 3.5

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These Are My Sins in 20ish words or less:

The debut from album from this christian hardcore band packs a punch that is both emotionally driven and musically powerful. 

The Band: 

I The Breather is a five piece christian hardcore band playing out of Maryland that incorporates spirituality and emotion into the driving force of their music, which is heavy, loud and in no way uncompromising. Lyrically their music covers a wide range of themes and emotions, and in tune with their beliefs is very spiritual, but the way it is conveyed is not in an attempt to sway anyone into their beliefs. The band members are very down to earth and don't believe that beliefs should be what determines who shares the stage with you.

Jay's Take on These Are My Sins:

These Are My Sins was a record I came across while perusing Sumerian's catalog later last year, and having only heard odds and ends of the bands work before I decided to look into I The Breather and check out their debut record. The quality of the release is one of the things that struck me from the opening tracks, as many debut albums do not always have such crisp sound. I The Breather holds no punches when it comes to their chosen style of music. Vocalist Shawn Spann is anchored in one mode from beginning to end, hardcore screams - if you saw the word Christian and expected some cleanly sung passages, you won't find them here. Regardless of this, the ability to convey emotion through the records powerful and spiritual themes is ever-present. The melodic interludes, twined over crushing breakdowns and sporadic djentings add to the emotional power of the record, creating some great grooves and moments that make you want to either throw your fists into the air or even break something. It's clear their music is heavily inspired by the likes of bands such as August Burns Red, but it would be foolhardy to think that this band did not pour everything had into making this record.

I'm far from a spiritual person - I'm a Jaytheist, remember? Still, just like these guys say that beliefs shouldn't be what determines who shares the stage with you, beliefs hold no credence over what I decide to listen to - and subsequently think is awesome. 

Sample of the Day: 



- J

365 Days of Metal: The Dark Side of Iceland

Day 59

Sólstafir - Svartir Sandar

Artist Origin: Reykjavik, Iceland
Genre: Post-metal / Psychedelic
Label: Season of Mist
Running Time: 77 minutes
Release Date: October 14, 2011


Best Part: The title track and Kukl truly emphasize the range the band reaches for.

Favorite Tracks: Ljós í Stormi, Melrakkablús, Æra, Svartir Sandar, and Kukl

Grade: 4.5

Side Note: Could argue post-rock vs post-metal, but it's still one of the coolest albums I've heard this year.

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Svartir Sandar in 20ish words or less:

This Icelandic crew has foregone all its former Black / Viking Metal self, and revels once more in post metal ambiance with their follow-up to 2009's Köld.

The Band:

Sólstafir is a four member band from Iceland that has been around since the early 90's. The band was originally a band that played a fusion of black metal and viking metal. Today, the band plays a post-metal meets psychedelic rock style of music that incorporates the driving swells of post-rock/metal angst, with spacey ambiance, and gloom - more prominent on their previous, and first post-metal inspired releases Masterpiece of Bitterness and Köld.

Sólstafir' previous releases include: Til Valhallar EP (1996), Í Blóði og Anda (2002), Black Death EP (2002), Masterpiece of Bitterness (2005), and Köld (2009)

Jay's Take on Svartir Sandar:

Svartir Sandar is a double album, which I find slightly odd, since the entirety of the record could easily fit on one disc, and there's no dynamic shift in structure to really justify splitting the LP in half. Nonetheless, Svartir Sandar takes off where Sólstafir has left off with Köld, but with a much less gloomier sound. The driving post-rock inspired guitar, angsty vocals provided by Aðalbjörn Tryggvason which are also more prominent and hardcore inspired remain prominent on the record, paired with the wide open calm, and spacey voids that litter the record with both a chilling and pacifying ambiance. It's kind of like Fugazi meets Pink Floyd - sort of. In comparison with their past work, the quality is still top notch with each track providing a solid listening experience - but at nearly 80 minutes in length, there are actually few songs that really jump out at you specifically as necessarily memorable. Their first post-metal inspired record Masterpiece of Bitterness is definitely a must listen if you enjoy post-metal - which I certainly do.

Sample of the Day:



- J

365 Days of Metal: Reigning from Obscurity

Day 58

Obscura - Omnivium

Artist Origin: Munich, Germany
Genre: Technical Death Metal / Progressive
Label: Relapse Records
Running Time: 54 minutes
Release Date: March 29, 2011


Best Part: Absolutely flawless transition work.

Favorite Tracks: Septuagint, Prismal Dawn, Vortex Omnivium, Celestial Spheres, and Ocean Gateways

Grade: 5

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Omnivium in 20 words or less:

The third record from the German progressive tech-death metallers returns with even more fluidity, technicality and depth than seasons past.

The Band:

Obscura is a four piece technical death metal band from Germany formed in 2002 by vocalist and lead guitarist Steffen Kummerer. The band made a splash in 2006 when they toured in support of death metal legends Suffocation, and releasing their successful debut album later that year. The band leans on a number of styles, incorporating elements of thrash, death metal and progressive to create tracks that are equally intricate, technical and heavy. Obscura has faced lineup changes, but since 2007 Kummerer has added in drummer Hannes Grossmann and guitarist Christian Muenzner, both formerly of Necrophagist to round out the line-up, along with recent acquisition, bassist Linus Klausenitzer. Obscura has also come to be known in some circles as the second Death - which for any in the know is definitely high praise.

Obscura' previous releases include: Retribution (2006), and Cosmogenesis (2009)

Jay's Take on Omnivium:

Obscura's self-released debut album Retribution was an awesome record from a band that came relatively from out of nowhere. The release paired with touring with Suffocation in 2006 was just the exposure they needed to get noticed and to set them on a path towards recognition as distinctive element in the death metal scene. Omnivium is the follow-up to their second record Cosmogenesis, the first release to feature the bands most recent and final lineup. It continues along the path that their sophomore album set out, containing a wide range of elements from the many genres that they fuse together. Obscura's work can hardly be described as purely technical death metal, nor can it be called purely progressive - each track is slightly different from the rest. The band manages to incorporate all of its technique fluidly, from the intricate guitar progressions, to the high-tempo blast beats, the melodic, virtuosic guitar solos, fretless bass, and of course the range of Kummerer's vocals, which bounce between low guttural growls, haunting, black metal inspired screams, and soft, shallow cleans. While Obscura is far from unestablished, Omnivium remains a slightly overlooked sleeper hit amongst certain circles, in what has become a very packed 2011.

Sample of the Day:




- J

365 Days of Metal: Genre Definers, Gothenburg Part II

The second part of my Genre Definers series on Gothenburg, following part I from last Monday on At The Gates. The third and final part will follow next Monday.

Day 57

In Flames - The Jester Race

Artist Origin: Gothenburg, Sweden
Genre: Melodic Death Metal
Label: Nuclear Blast
Running Time: 40 minutes (or 51 minutes for the re-released versions)
Release Date: February 20, 1996


Best Part: The Jester's Dance - vintage instrumental magic.

Favorite Tracks: All of it? - Dead God In Me, The Jester's Dance, Moonshield, Graveland, The Jester Race, Lord Hypnos, and Wayfaerer

Grade: 5

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The Jester Race in 20 words or less:

One of the greatest melodic death metal albums ever. Period.

The Band:

In Flames is a five piece melodic death metal band from Sweden who have had the largest mainstream success of the Gothenburg style's founding members - although that can be a relative term as Dark Tranquility have also had significant success, and At The Gates disbanded at their peak in the mid 90's only to reunite in the past few years. Founded originally by Jesper Strömblad, the goal of In Flames was to push forward more melodic music that was not welcomed with his primary focus, the death metal band Ceremonial Oath. Strömblad eventually quit the band to focus on In Flames and created the first official line-up in 1993, releasing their first debut LP shortly after in 1994, with session vocals performed by Dark Tranquility's own Mikael Stanne. Between 1998 and 2010, In Flames' line-up would remain the same, featuring Strömblad, guitarist Bjorn Gelotte (who was the bands original drummer), bassist Peter Iwers, guitarist Niclas Engelin and vocalist Anders Friden. Their musical style has shifted slightly in their later years, and with Stromblad's departure from the band in 2010, leaves questions as to whether In Flames can rise back up to the heights of their early career, producing some of the more memorable records of their time.

In Flames' other releases include: Lunar Strain (1994), Whoracle (1997), Colony (1999), Clayman (2000), Reroute to Remain (2002), Soundtrack to Your Escape (2004), Come Clarity (2006), A Sense of Purpose (2008), and Sounds of a Playground Fading (2011)

Jay's Take on The Jester Race:

The Jester Race is not only a staple album in defining the Gothenburg style of metal, but is a classic piece of metal history and one of the finest records of its time. It features all of the elements of their genre in perfect unison: the dual lead guitarists, injection of acoustic guitar, wide use of instrumental interludes, and Anders' early, near purely growled vocals. The Jester Race is not only a masterpiece of composition, but a snapshot of the early talent and high potential for the group and it's individual members. Bjorn Gelotte who provided the percussion for the Jester Race would later become the second lead guitarist for the band, and help provide some fine musicianship, including a role in one of my favorite guitar solo's ever on The Hive. In Flames has a long catalog of music, and has some great records under their respective belts, but The Jester Race remains their best work, despite only being their sophomore release. Which is nothing to be ashamed of at all, as it is one of those records that has the staying power that any band would kill for and has cemented their status among metal heads for generations - regardless of how you feel about their more recent work, or where you think they may go next.

Sample of the Day:

You knew there'd be a double-header. Keep calm and carry on.





- J

365 Days of Metal: The Sunday Double Down

Due to some awesome party-time and being away from home for about three days I realized slightly too late that I didn't have anything ready to go for day 55's original run yesterday. So to make up for it, I present you with both Day 55 and Day 56, forming the Sunday Double Down.

It's not going to be pretty.

Day 55

Fit For An Autopsy - The Process of Human Extermination
Artist Origin: New Jersey, USA
Genre: Death Metal / Deathcore
Label: Black Market Activities

Running Time: 32 minutes

Release Date: June 21, 2011


Best Part: The Jackal - returning from their EP, crisper, cleaner and more brutal.

Favorite Tracks: The Executioner, The False Prophet, The Jackal, and The Conqueror

Grade: 3.5

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The Process of Human Extermination in 20 words or less:

Nothing groundbreaking or revolutionary, but the debut from this New Jersey death metal crew is definitely ground shaking and well constructed.

The Band:

Fit For An Autopsy is a five member death metal outfit playing out New Jersey that leans slightly more towards the deathcore end of the spectrum, playing a near relentless and brutal audio assault on your ear drums. The band is also the latest group to be helmed by vocalist Nate Johnson, who was great during his time with Through the Eyes of the Dead. The band is signed to Black Market Activities, which is a record label that is actually owned by Guy Kozowyk of The Red Chord, who is also featured on the Fit For An Autopsy's debut record.

Skeletonwitch's other releases include: At One with the Shadows (2004), Beyond the Permafrost (2007), and Breathing the Fire (2009)

Jay's Take on The Process of Human Extermination:

Clocking in at 30 minutes, with tracks averaging just shy of or slightly over three minutes, The Process of Human Extermination keeps it simple and concise; that is to say if up front brutal death metal can be put that simply. Fit For An Autopsy doesn't try to overextend themselves with any of their tracks, it's just straight to the meat and potatoes: fast shredding, pounding riffs, brutal vocals and when the need arises, some crushing toned down grooves. The record isn't groundbreaking, although I hardly expect that to have been the intent. While there may not be any overly distinctive material, The Process of Human Extermination is still worthy of some airtime beyond the initial listen for anyone that includes their chosen style as their cup o' tea. Their debut record was recorded in collaboration with a number of artists who will be quite familiar to anyone who clues onto their inclusion, including Guy Kozowyk, as mentioned earlier, and Travis Richter, former vocalist for The Human Abstract.

Sample of the Day:

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Day 56

Disfiguring the Goddess - Circle of Nine
Artist Origin: Huntington Beach, California, USA
Genre: Brutal Deathcore
Label: Unsigned

Running Time: 30 minutes

Release Date: March 28, 2011


Best Part: You know - that part with the Pig Squeal.

Favorite Tracks: Breaching the Clone, Void Leacher, and The Age of the Seraphim

Grade: 3.0

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Disfiguring the Goddess in 20 words or less:

This is probably the most gut wrenchingly abrasive thing that will ever be featured on 365 Days of Metal.

The Band:

Disfiguring the Goddess is a DIY brutal deathcore band from the West coast of the United States. Known for the ridiculously brutal guttural vocals of Cameron 'Big Chocolate' Argon, the debut self-released, self-titled album came out to rather good reviews among the deathcore community, as it incorporated a number of small elements that made them still relatively distinct among a genre that is difficult for many to even embrace.

Disfiguring the Goddess' other release is their follow-up record Circle of Nine, which was released in March 2011.

Jay's Take on Disfiguring the Goddess:

Argon's vocals are some of the most brutal I've encountered, and can be described basically as bile drenched and gut wrenching in their brutality. Being a homebrew project, the sound quality and engineering is far from highly crisp, but for the genre this par plays is not at all necessary. In comparison with the self-titled debut release however, the sound quality is much improved. The grungy and dingy feel of the tracks just makes them feel more brutal, more dirty - which they absolutely are. I can't claim that Argon has the best pig squeals I've ever heard, but they are absolutely filthy and almost vomit-inducing - which is really what you want out of a pig squeal. Argon provides the vocals, programming (including the synth flourishes) and guitar work, while Phil Cancilla provides drumming for the album. I don't really know what else to say about this, so I'll leave it at that.

I'm not sure I'd ever listen to this album again - and I'm not sure anyone who reads this will even listen to it at all.

Sample of the Day:



- J

365 Days of Metal: Rebecca Black Metal Friday vol. 5

Day 54

Skeletonwitch - Forever Abomination

Artist Origin: Athens, Ohio, USA
Genre: Thrash / Black Metal
Label: Prosthetic
Running Time: 51 minutes
Release Date: October 7, 2011

Best Part: The clean guitar on This Horrifying Force leading into the frantic pace of Skeletonwitch is the perfect intro piece.

Favorite Tracks: Cleaver of Souls, The Infernal Resurrection, This Horrifying Force, and Shredding Sacred Flesh

Grade: 4.5

Side Note: Skeletonwitch has always had metal as fuck album artwork.

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Forever Abomination in 20 words or less:

The lords of mixing thrash metal, black metal and metal as fuck album artwork are back again, with their best record to date.

The Band:

Skeletonwitch is a five member thrash metal band out of Ohio that over the course of their career have deviated from straight thrash metal, to incorporate a crossover with black metal, creating an awesome sounding blend of the two genres best respective traits. Skeletonwitch is about speed, heaviness, solos, Chance Garnette's raspy shrieks and growls, and of course Satan - Skeletonwitch wouldn't be Skeletonwitch without a little dose of Satan. Their crossover of less mainstream black metal with their base thrash roots has still garnered them relative mainstream success, and the band provides one hell of a live show with their high energy performance.

Skeletonwitch's other releases include: At One with the Shadows (2004), Beyond the Permafrost (2007), and Breathing the Fire (2009)


Jay's Take on Forever Abomination:

Forever Abomination starts off with a clean, yet foreboding clean guitar intro, and then in classic Skeletonwitch fashion gets straight to the point - And that's what I love about Skeletonwitch. Ranging from 30 to 35 minutes, with tracks averaging 3 minutes or less, the bands' albums don't skip a beat, moving from track to track with an unrelenting fury that is at the core of their thrash metal roots. They set the pace for their records from the first track and Forever Abomination is no different, shredding at breakneck speed with Garnette at the helm commanding the tracks with his low death metal growls and more prominently his piercing, raspy black metal reminiscent shrieks. Forever Abomination includes some great technical variety in their guitar work, with some solid solo work as always, as well as some well placed clean interludes and melodies, adding variety to the fast paced tempo that the band keeps at all times. Cleaver of Souls is a standout track in this regard. And the newest member of the band, drummer Dustin Boltjes provides some great work behind the kit, replacing longtime drummer Derrick Nau. The album is also of a higher production quality, which shows with just how much crisper the band sounds compared to their previous release Breathing the Fire.

It'll take some more plays through, but Forever Abomination is most likely my favorite Skeletonwitch record, having in my eyes (and ears) surpassed their second album Beyond the Permafrost - not to take anything away from Breathing the Fire, which was also a great album.

Sample of the Day:


- J

365 Days of Metal: Floating On A Sea of Grief

Day 53

Mar de Grises - Streams Inwards

Artist Origin: Santiago, Chile
Genre: Death / Doom / Melodic
Label: Season of Mist
Running Time: 56 minutes
Release Date: August 30, 2010

Best Part: Opening three tracks.

Favorite Tracks: The Bell and the Solar Gust, Shining Human Skin, Starmaker, and Knotted Delirium

Grade: 4.0
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Streams Inward in 20 words or less:

Another atmospheric record from a melodic death/doom band that remains a relative dark horse amongst a stable of accomplished acts.

The Band:

Mar de Grises (Sea of Greys - rather than Grief) is a five member melodic death/doom band that hails from Chile, playing an intriguing blend of styles all centered around the doom metal experience, injecting elements of progressive, post metal, ambient and even electronic into their compositions. The band formed originally as a groups of students studying at university that wanted to spend some leisure time, and has grown to become a band that with the release of their first record received high praise from critics, and continued with their sleeper hit sophomore album Draining the Waterheart receiving rave reviews, and nods as best Doom album of the year.

Mar de Grises's other releases include: The Tatterdemalion Express (2004), Draining the Waterheart (2008), and First River Regards (2009)

Jay's Take on Streams Inward:

Streams Inwards is arguably one of if not the most atmospheric record released by Mar de Grises. The composition work by the band has always been a high point in their relative success, with the choice use of instruments and tones adding even more to the melody and the atmosphere of the record. The use of electronic effects in particular is apparent throughout the record, and paired with the key use of specific elements such as soft piano melodies and dissonance also pull you further into the inward streams of Streams Inwards. The vocals shift timely between harsh growls and soft cleans, immersing you fully into the experience created by the instrumentation of the group. Streams Inwards is a solid album, that fits well into many different moods, but lacks a small bit of luster in comparison to their past works, especially their heavily lauded sophomore album Draining the Waterheart.

Sample of the Day:



- J

365 Days of Metal: Revolving Around the Sun

Day 52

The Ocean - Heliocentric

Artist Origin: Berlin, Germany
Genre: Post Metal / Progressive
Label: Metal Blade
Running Time: 51 minutes
Release Date: April 9, 2010

Best Part: The Origin of Species

Favorite Tracks: The Origin of Species & The Origin of God, Metaphysics of The Hangman, Ptolemy Was Wrong, Firmament

Grade: 5

Side Note: Should be listened to in full along with Anthropocentric.

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Heliocentric in 20 words or less:

Part one of a post metal masterpiece double album, from the makers of Precambrian, which raised expectations three years prior.

The Band:

The Ocean is a six piece post metal band from Germany, who play an aggressive, progressive and atmospheric metal experience - and I don't use the term experience lightly. The Ocean makes frequent use of electronic elements and strings (not guitar string you fools!) to fill in the voids in their music. The band, also coining itself The Ocean Collective, features collaborations from numerous artists throughout their discography, including fellow metal musicians and vocalists, classically trained musicians, as well as orchestras, such as the Berlin Philharmonic which played a significant role during the recording of their third album Precambrian.

The Ocean's other releases include: Fluxion (2004), Aeolian (2006), Precambrian (2007), and Anthropocentric (2010)

Jay's Take on Heliocentric:

Heliocentric is the first part of The Ocean's magnum opus, a double album meant to be a fundamental and philosophical critique of Christianity, with many central themes prevalent throughout each record. Anthropocentric, the second part of the double album was released nine months following Heliocentric, squeezing both parts of the masterpiece into the same year. The music is both powerfully moving and unrestrained, and the way the themes are conveyed from one track to the next makes for a very remarkable listening experience. It's an album that holds true to the aggressiveness inherent to post metal, but carries with it an eloquence and melody in its atmospheric elements, and use of classical instruments. A perfect example being the violin interlude during the track The Origin of Species - which is also the ringtone on my phone, and has been for over a year. I chose both Heliocentric and Anthropocentric as my favorite record(s) of the year last year, and for good reason. The Ocean stole the spotlight from many contenders, with a great comeback performance following their triumph with the album Precambrian.

Sample of the Day:



- J

365 Days of Metal: Falling from the West

Day 51

Fall In Archaea - Gatherings (EP)

Artist Origin: Victoria, British Columbia, Canada
Genre: Progressive / Technical / Hardcore
Label: Unsigned
Running Time: 23 minutes
Release Date: January 25, 2011

Best Part: I'll take everything you have and bury it - with the dead!

Favorite Tracks: Machines, Gatherings, The Messenger, and High Tides

Grade: 4.5

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Gatherings in 20 words or less:

A great first impression from a west cost Canadian band looking to crush their way onto the tech metal scene.

The Band:

Fall In Archaea is a five piece metal outfit playing out of Victoria BC that focuses on technically proficient instrumentation, progressive riffs and heavy grooves, all wrapped up in a metalcore envelope. The band is currently unsigned but has been touring consistently over the past year with a number of fellow Canadian groups such as Blind Witness, as well as supporting North American tours by groups including The Tony Danza Tapdance Extravaganza and A Plea For Purging.

Jay's Take on Gatherings:

Gatherings is a short introduction to what Fall In Archaea has to offer. Clocking in at just under 25 minutes long, the six track EP covers all of the aspects that make them a band to keep an eye on. The technical and heavy guitar work is prominent across each track, stretching across the boundaries of dissonant grinds to earth shaking drops, melodious solos, and pummeling grooves. Alex Lidstone's vocals are on point, and his screams are crisp and clear, fitting perfectly with the instrumentation of the EP, with some particularly tasty, gut wrenching lows at key points in Gatherings six track offering. The band also offers a great live performance, having seen them locally while on tour in the past year, looking forward to more in the years to come from these guys.

Sample of the Day:



- J

365 Days of Metal: Genre Definers, Gothenburg Part 1

It's been 50 days since I started 365 Days of Metal, so here's something a little special to commemorate the milestone, a special Live Edition which is also the Part I of my Genre Definers look at Melodic Death Metal.

Day 50

At The Gates - Purgatory Unleashed: Live at Wacken

Artist Origin: Gothenburg, Sweden
Genre: Melodic Death Metal
Label: Earache
Running Time: 73 minutes
Release Date: March 22, 2010

Best Part: All of it - One of the best Live Albums I've ever heard.

Favorite Tracks: Blinded by Fear, Slaughter of the Soul, Terminal Spirit Disease, World of Lies, The Swarm, Suicide Nation, and Kingdom Gone

Grade: 5

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Purgatory Unleashed in 20 words or less:

After twelve years apart, At The Gates returns to carry on the legacy of Slaughter Of The Soul, live at Wacken Open Air.

The Band:

At The Gates is a five piece melodic death metal band from Sweden who along with In Flames and Dark Tranquility are best known as the founders of the Gothenburg style of metal. Their final studio release, Slaughter of the Soul is regarded as one of the defining records in the history of melodic death metal, combining the best elements of a number of genres, including the speed and heaviness of the New Wave of British Heavy Metal, black metal inspired vocals, and guitar work that is both melodic and technically sound. At The Gates disbanded in 1996 after six years together, literally at the peak of the success. It would not be until twelve years later that they would reunite for a number of shows and tours on the global scale, including a headline spot on Wacken Open Air - bar none the worlds greatest metal festival. Since then, At The Gates continues to play events but has affirmed they will not be recording any new material, as to keep the legacy of Slaughter of the Soul alive and well.

At The Gates's full-length releases include: The Red in the Sky Is Ours (1992), With Fear I Kiss the Burning Darkness (1993), Terminal Spirit Disease (1994), and Slaughter of the Soul (1995)

Jay's Take on Purgatory Unleashed:

I could have easily just chosen to do today's post on Slaughter of the Soul, as it was the record that really defined At The Gates to a venerable tee. But choosing Purgatory Unleashed is just as well, as it includes every track from the album except for the instrumental interlude, and closing track from the record. And of course, includes some of their best material from the remainder of their catalog, including at least one track from every single release (LP and EP) they ever had. For having been recorded during their performance at Wacken Open Air, the sound quality of the record is absolutely ludicrous. All of the little elements of At The Gates musical proficiency are put center stage, with the rhythm and bass lines clearly standing out, the technical melodies jumping out at you and Tomas Lindberg's signature vocals leading the charge. It shows that even after twelve years, the band are masters of their craft and deserve the honors and praise they have received over the years as a cornerstone of both the genre of melodic death metal, but also the Gothenburg style which they so heavily helped influence.

Listening to this record is a pure nostalgia trip, encompassing the sounds of my younger years, and my entry into the depths of the metalverse.

Sample of the Day:



- J